How do you know if you’ve lived a good life? That’s a hard question to answer objectively because of the various cultural and social rules that come to define what “good” is. Do intentions really matter if someone gets hurt… Read More ›
The waiting room from immigration hell awaits “Upon Entry.” [SXSW]
Nobody enjoys a waiting room. In a world accustomed to instant gratification, the experience feels intolerable, even if you have an appointment or assurances that your stay in that space is only temporary. Co-directors Alejandro Rojas and Juan Sebastián Vásquez… Read More ›
Eroticism is in the details in Patricia Ortega’s “Mamacruz.” [Sundance Film Festival]
When director Patricia Ortega found a revealing picture of her mother as a young woman, scantily clad in an open bathrobe, she didn’t recoil in embarrassment. She made a movie about it. Ortega was surprised by such a blatant display… Read More ›
Open Dialogue with “BARDO, False Chronicle of a Handful of Truths” actors Daniel Giménez Cacho and Ximena Lamadrid.
Bardo, False Chronicle of a Handful of Truths is a creative exploration of finding humanity within sometimes inhumane conditions of the physical and mental states. Today on Open Dialogue our guests are Daniel Giménez Cacho and Ximena Lamadrid. These two… Read More ›
Suspense thriller “The Inevitable Death of the Crab (La Inevitable Muerte del Cangrejo)” is a strong first full-length outing by Ahcitz Azcona.
An observation about American cinema is made early into writer/actor/director Ahcitz Azcona’s The Inevitable Death of the Crab (La Inevitable Muerte del Cangrejo) that’s incredibly obvious yet startling once considered: whomever the latest “bad guy” is to the U.S., they… Read More ›
Honor, pain, and cuddles are just the beginning of Alberto Vázquez’s “Unicorn Wars.” [Fantastic Fest]
If you go down in the woods today, you’re sure of a big surprise If you go down in the woods today, you’d better go in disguise For every bear that ever there was Will gather there for certain because… Read More ›
“The Antares Paradox (La Paradoja de Antares)” is a well-executed single-location story. [Fantastic Fest]
Imagine for a moment that you’ve known what you’ve wanted to do from a young age, that you’ve spent the majority of your life reaching toward a goal despite a lack of familial or even societal support. Now imagine that… Read More ›
Macarena Gómez and Sofía García make every moment of “Everyone Will Burn (Y Todos Arderán)” scorching. [Fantastic Fest]
Before we dive right into our review of the incredible Spanish horror film, Everyone Will Burn (Y Todos Arderán), we must first talk briefly about an HBO Spain show called 30 Coins. 30 Coins is a semi-religiously involved horroresque show… Read More ›
“We Are Living Things” explores life and society through layered metaphors.
Whom among us hasn’t felt lost and alone, even in a crowded room of people? In some cases, the larger the environment, the smaller one may feel due to the vastness of it all. In that case, seeking connection to… Read More ›
Part expressionist melodrama and part campy horror, “The Attachment Diaries (El Apego)” sends mixed messages about trauma and mental health issues. [Chattanooga Film Festival]
Content/trigger warning: The Attachment Diaries deals with sexual assault, self-harm, mental illness, and abortion. These subjects are also briefly discussed in the review below. The Attachment Diaries is a difficult movie for two reasons. First, it focuses on a handful… Read More ›
A Conversation with “Split at the Root” producers Marti Noxon and Maria Grasso & Immigrant Families Together co-founder Julie Schwietert Collazo. [SXSW Film Festival]
EoM contributor Justin Waldman recently interviewed producers Marti Noxon and Maria Grasso and co-founder of Immigrant Families Together Julie Schwietert Collazo to discuss their work on the documentary Split at the Root, which is premiering at SXSW. During their conversation,… Read More ›
Pedro Almodóvar’s always tender humanity enables “Parallel Mothers (Madres paralelas)” to examine complex matter.
There’s something to be said about “movie magic” or whatever word or phrase you use to describe those “Nicole Kidman sitting in the world’s cleanest, emptiest AMC” moments where you really just appreciate every aspect that not only went into… Read More ›
Altered Innocence’s 4K restoration of Spanish horror “Arrebato (Rapture)” highlights how its DNA is strewn across all genres, all nations, to a multitude of filmmakers.
Inspiration is found everywhere. Even the best filmmakers have inspirations that they imbue into their own work, using the work that made them into the filmmakers they are today in smart, reverential ways. Sure, occasionally things can get heavy-handed and… Read More ›
Strange and bittersweet, Alex Piperno’s “Window Boy Would Also Like to Have a Submarine” ponders humanity’s need for connection. [Nashville Film Festival]
Writer/director Alex Piperno’s first feature-length film, Window Boy Would Also Like to Have a Submarine, debuted in 2020 and is now screening during the 52nd Nashville Film Festival. Piperno’s tale is one of the most unique cinematic experiences I’ve had… Read More ›
Discover new life in “All the Moons (Todas las Lunas),” an enchanting and bittersweet vampire fantasy. [Fantasia International Film Festival]
No country’s literature or filmography is short of romance stories. If a writer tells you they’re working on a piece about love, you’ll probably assume they’re talking about romantic love. We live in a culture that prioritizes romance and marriage,… Read More ›
Raw, unflinching, and defiant “Luchadoras” follows the reclamation of personhood in Ciudad Juárez, Mexico. [SXSW Film Festival]
If you were to presume that co-directors Paola Calvo and Patrick Jasim’s documentary Luchadoras (Female Fighters) is about female wrestlers in Mexico, you’d only be about a quarter correct. While their film does follow four wrestlers — Lady Candy, Baby… Read More ›
Explore Alejandro Iñárritu’s first feature film, “Amores perros,” in a brand-new way thanks to its addition to the Criterion Collection.
Before The Revenant (2017), before Birdman or (The Unexpected Virtue of Ignorance) (2014), before Biutiful (2010), and before 21 Grams (2003), writer/director Alejandro Iñárritu made his feature debut with 2000’s hard-hitting Amores perros, a title translated to English as “Love’s… Read More ›